friend pointed out that if I did a silhouette pass of this page it would look like a really weird version of that old iPod advert and I

friend pointed out that if I did a silhouette pass of this page it would look like a really weird version of that old iPod advert and I

back from the physio with two leg warmers on my arm and a giant elastic band to make pretend bike-revving motions with

well okay then

dimisfit:

Inktober day 20 is when Vincent and Victoria tread through water. Or something.

dimisfit:

Inktober day 20 is when Vincent and Victoria tread through water. Or something.

2-ee said: dmtri vs rgb

potentialforart:

fight of the century

also I feel I should give you fellas a head’s up because from this Saturday through to the following Thursday I am going to be visiting my sister and will therefore will be WITHOUT INTERNET for like basically THE WHOLE TIME

GASP

I’m also going to try and rest my arm as much as I can so yyyyyeaaah sorry not going to be much drawing if I can help it although I have a serious problem with being addicted to it so who even knows

anyway yeah I’m going to try and update the comic on Friday instead before I leave, fingers crossed that I make but if not you know why :U

do you ever find an artist whose work just fills you with so much energy you want to run up a hill and fight a kestrel? okay, so, maybe not a kestrel but caramelkeks is totally one of those artists and I was so super happy that she agreed to do a GF fanart trade with me despite my horrible schedule and hecked up arm :’D
lines by caramel and colours by me! sorry I was so slow getting my lineart to you buddy I feel like I’m cheating posting this first ajsghajsg

do you ever find an artist whose work just fills you with so much energy you want to run up a hill and fight a kestrel? okay, so, maybe not a kestrel but caramelkeks is totally one of those artists and I was so super happy that she agreed to do a GF fanart trade with me despite my horrible schedule and hecked up arm :’D

lines by caramel and colours by me! sorry I was so slow getting my lineart to you buddy I feel like I’m cheating posting this first ajsghajsg

ofpaintedpumpkins:

what taking important life decisions feels like.

ofpaintedpumpkins:

what taking important life decisions feels like.

The Hidden Life of the Burrowing Owl from mike roush on Vimeo.

parkersimmonsyall:

shirtsnshorts:

MIKE ROUSH / The Hidden Life of the Burrowing Owl / 5:16

I have always been fascinated by wildlife documentaries. As a kid I would take my mom’s camera and try and get as close to the neighborhood animals as I could. Most of the time this would mean long hours sitting motionless on the back deck with bird seed sprinkled on my lap and shoulders. I never got the shot I wanted, so when Chris and Shannon  asked me if I wanted to make an animated film for Titmouse, I said yes before they finished asking. 

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Chris and Shannon Prynoski, Dik Pose, and I Line up a shot in the middle of nowhere. photo by Steve Kellener.

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Early thumbnails of the burrowing owl.

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Rough turnaround.

"Owl" was animated in Flash. I used a technique where I would animate traditionally very rough, then I would take a second pass cleaning up symbols that I would be able to reuse later. Most of the final animation you see in "Owl" is puppeted symbol animation with hundreds of symbols and a different puppet for each shot. This way I could get the detail and animation quality I wanted.

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The Flash break-down on one of the owl puppets. Lots of feathers!

One of my favorite parts of making this film was having to get out of the studio and go on location. I found an amazing place in central California called The Carrizo Plain using google maps. I spent the weekends driving all around taking pictures and exploring. Fun fact: The burrow used in the short was an actual owl burrow. On one of the days I was taking photos of the burrow one hissed at me from inside the burrow with it’s rattlesnake like call. It scared me nearly to death.

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This is how I made all the “live action” backgrounds. I drew a storyboard of what I wanted and photo collaged lots of pictures together to make it look like what I drew. Unfortunately these places don’t exist in real life.

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Whenever the owl had to touch the flower or fork, I took hundreds of photos, cut them out in photoshop and animated them. Fun.

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On location I used a couple stand-in models to get the lighting right and a maquette when animating for inspiration.

I had a great time making this film and when I was done we were lucky enough to show it at festivals around the world. After 4 years the “Owl” showed at more than 40 festivals, in over 25 countries. 

Can’t wait to do another one.

Mike’s Tumblr

Mike Roush’s incredible short film is now online!!! Don’t miss this one, folks! It’ll stick to your ribs likes delicious cartoon BBQ!

I was lucky enough to catch this at an animation festival a while back and it blows my mind as much now as it did then

(via apbajs)

Anonymous said: do you have an opinion on people being upset at other people in the fandom in the TPoH tag(s)?

wow has it actually got to that stage IS THAT A MARK OF SUCCESS OR

anyway an opinion, er, not really? I can’t control what people think or what they’re going to say- unless the person is upsetting a lot of people it’s not my business. You guys are allowed to discuss and debate things as much as you like, and so long as nobody is actively harassing people or making things really awkward I’d rather try to stay out of it tbh (and honestly I don’t even know how much I could do to help with that) \o/

kbonzo said: I'm currently reading up on comic page construction and since I love how your pages turn out, I was wondering if you have any recommended reading or certain rules you follow?

fowlie:

Ah geeze, my page layouts are all pretty standard, actually.  Most of what I know I picked up from comics I’ve read, and advice from friends.  

I like to follow the KISS rule: Keep It Simple, Stupid.  95% of my Fritz pages look like this:

Things I think are important:

  • Big panels feel like they have more time passing in them, while smaller panels feel very quick.  Open panels can create a great scene of lingering or slowed time (don’t put them too close together, it can get confusing when they’re touching.)
  • Establishing shots to open new scenes, so the reader knows where the fuck we are and what characters are there.  If you’re going back to an already established location, you can fudge it and rely on ‘land marks’ of the location.  
  • Gutters, they separate your panels and give them room to breath, and clarity.  I like to avoid black gutters for this reason.  
  • Breaking the panel should be used sparingly, but is a great way to make the action really ‘pop’.  
  • Every page should have at least one background, to ground the characters and setting. 
  • Word bubbles from different panels shouldn’t be too close or touching.  Most people read the words on a page first, and this can mess up you panel order by leading their eye wrong. 
  • Keep dialog short and sweet, don’t cover your characters in words. Save large amounts of text for large panels. 
  • Show don’t tell.  Comics are a visual medium, have fun with your art. 

Now, all rules can be broken.  I wing pages a lot, and go with my gut when it comes to a lot of my decisions in layout.  Comics are visual art first, so if something doesn’t follow the ‘rules’ but feels right/looks good, I’d say go for it.  Experiment and have fun!  The more comics you draw, the better they get.

Read lots of comic, from different artists, and think about what you like about their work.  Movies are great, too, for figuring out tricks for visual transitions and scene layouts.  I have a habit of imagining how I would draw some transitions/scenes to get the same feeling in still, black and white pictures.  

I hope this helps! 

A collective of miscellany and mirth. Also sometimes I draw stuff.

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